Noten für Chorleiter

Mas que nada' (roughly: 'Oh, what the heck?') was composed in 1963 by Brazilian musician Jorge Ben Jor and appeared on his album Samba de esquema novo. The world hit became famous in the interpretatio...

For choir a cappella by Lorenz Maierhofer

Originally composed for a film by Alfred Hitchcock, this global hit became world-famous in Doris Day's version in the film Spy in Lace Panties. The Oscar-winning title in a choral arrangement by Cleme...

Wer kennt sie nicht, die Nervosität vor dem Rendezvous. Sich noch hübsch machen für sein baldiges Gegenüber - da stellt sich bei Hans u.a. die Frage: Oberlippenbart, Unterlippenbart oder komplett enth...

Der Name Lorenz Maierhofer steht für ansprechende und gut singbare Chormusik. Viele seiner Werke wurden zu Klassikern, zu Standards für Konzerte, Feste und Feierlichkeiten, für Chorbegegnungen und Cho...

Der Name Lorenz Maierhofer steht für ansprechende und gut singbare Chormusik. Viele seiner Werke wurden zu Klassikern, zu Standards für Konzerte, Feste und Feierlichkeiten, für Chorbegegnungen und Cho...

Beautiful modern harmonies create the backdrop for this elegantly simple a cappella work that is well within reach for most choirs. Straightforward rhythms and moments of release create a tapestry of...

Pulsating rhythmic ostinatos, cluster harmonies, and soaring soprano lines are all present in this exciting a cappella concert work. Based on the 13th century Dies Irae chant, the exciting minor textu...

Rihards Dubra's composition for unaccompanied mixed voice choir with Latin text.

J. C. Bach 's wonderful Es Ist Nun Aus Mit Meinem Leben is arranged here for Unaccompanied SATB chorus and expertly edited by Jonathan Wikeley. The lyrics were written by Magnus Daniel Omeis and are i...

Nine classic Chilcott songs including original pieces and arrangements of traditional material. The varied nature of the collection highlights Chilcott's prodigious gifts. Some of the pieces are publi...

For SATB accompanied and unaccompanied. Answering the demand among German choirs for English music, Glory to God contains music from England's most important church composers with German as well as En...

30 nineteenth-century partsongs for unaccompanied SATB including classics of the genre and lesser-known gems. The book includes a full introduction and critical notes by the editor.

For SATB (with divisions) unaccompanied. A dramatic and colourful setting of Psalm 81:3 and 4 which is an ideal introit or anthem for festive occasions, or for the opening of a choral concert.

For SSAATTBB a cappella This outstanding a cappella work, which has been appearing on an increasing number of state contest and festival lists, is becoming a standard in the repertoire.

The Magnificat is one of Pärt's most serene works, and has become deservedly popular with choirs around the world. The music perfectly expresses the exalted, tender joy of the Virgin Mother, and yet r...

The piece has a very clear two-part structure. A peaceful setting, resembling a lullaby which rarely rises above mp in the first section. Silence also plays a key part in the opening. Each vocal part...

In which Was the Son of... for mixed a cappella-choir Arvo Pärt uses the Genealogy of Jesus in accordance with the Gospel of Luke. (St Luke 3, 23 -28). While the Magnificat from Luke Chapter I - the S...

Apart from the a cappella arrangements provided, these songs can also be performed with the piano accompaniment in the vocal score (UE31544). Instruments from the original version could also be added....

Inspired by his visit to Fátima, scene of a famous Marian Apparition in 1917, Arvo Pärt wrote a small choral piece based on a passage from Psalm 8. 3 'Out of the mouth of babes and sucklings thou hast...

A traditional Xhosa song that almost every black South African grew up singing in church. It is commonly sung during the Holy Communion, as it is significant to do so, considering the text.

A Latvian folksong proclaiming 'Sing, daughters!' is arranged with excitement and rhythm by Latvian composer Laura Jekabsone. Originally performed by SSSAAA singers, but scored here for SSAATB voices.